Private

The first half of "Private" is frustrating as a set piece of European intellectualism and inauthenticity strained to establish a logic puzzle mind game, but the second half rises to the level of universal humanity.

There have been many movies about the stubborn old idealist who infuriates his family with his implacability ("Man of La Mancha," "The Field," "Straight Story," etc.) but co-writer/debut director Saverio Costanzo sets this one as a barely-believable Shakespeare-quoting, educated, middle class, secular Palestinian holding on to his house and his very large family amidst the volatility of the West Bank territories.

Each member of the family represents a type that has some similarity to the family in "Raisin in the Sun" -- the exhausted housewife who just wants her kids to be safe, the beautiful eldest, enscarfed daughter who argues against leaving for a European education to the apathetic sports-mad teen boy radicalized by his conflicts with Israelis to the traumatized little girl and the big-eyed curious, adorable little brother.

With much of the film shot in dark as shaky, pseudo-documentary digital video like night vision goggles, the forced comparison to "Diary of Anne Frank" doesn't quite hold up as the family is locked into their living room only at night by occupying Israeli soldiers as it is a principle not survival itself that the father is insisting upon. They seem to have complete daily freedom to shop and go to school (they say "madrassa" on the soundtrack but we see them do math homework not rotely memorize The Koran), but not to host friends.

While the film does well build up the tension of this nightly, stressful ritual, that is also true in nonpolitical hostage films from "Petrified Forest," to "Key Largo," "Desperate Hours," and on and on. The Israeli soldiers are as much types as the soldiers in the TV series "Over There." There's the barking sergeant, the sensitive intellectual and the bored joker just doing his job, but with the casual mention that these frustrated reservists are commuting distance from home, as was seen in "Kippur." The film is also unfair in only hinting at what attacks they, let alone their families at their home towns, have endured from Palestinian civilians to make them so aggressive and jumpy.

While it is ironic that the Palestinians and the Israelis have to speak broken English to each other to communicate, the larger themes are confused in perception to the audience because it is not clear what the participants do and do not understand as most of the conversations are translated for us in the subtitles. This is important because the second half of the film reaches an intriguing point where each side slowly starts to perceive each other as individuals and not as just "the other."

The turning point is when the oldest daughter breaks the rules restricting the family downstairs and spies on the soldiers billeted upstairs. Motivated initially by some kind of revenge fantasy, she is gradually overcome by natural curiosity, and perhaps voyeurism as they are hunky young men, and begins to parse out their relationships from their body language and activities, which she later relates fantastically to her equally curious younger brother. Shot only from her viewpoint, we begin to realize that a narrow sliver is really how each side has been seeing the other all along.

The film leaves no doubt that such insights are brief blips in the ongoing struggles between both sides that leave tragedy in the wake of the continued cycle of miscommunications and misperceptions.

Oddly, this is the second recent Italian film about terrorism (Good Morning, Night (Buongiorno, notte)) that uses a Pink Floyd-related song too heavy-handedly on the soundtrack (here a cover of "Perfect Sense, Part 1" from Roger Waters's Amused to Death).

A group of Israelite soldiers occupy the house of a Palestinian family and force them to live locked in one of the rooms while they come and go inside the house. Well, thank goodness someone shows the Palestinian drama (for a change). There are plenty of movies about the Holocaust, there are lots of directors such as Amos Gitai, but only a few of them are telling the truth: and the truth is that Israelites is as terrorist as the Palestinians can be. Israelites use planes and tanks, and the Palestinian use suicide squads. Them both achieve the same: the killing of hundreds of civilians, but the question is: who shot first?? Who occupied Palestina??

"Private" is nothing like a great movie, but it is a great document which explains the complicate situation of that area. Those who don't really care about Israelite/Palestinian conflict won't find much incentive in watching this one.

*My rate: 6/10

I saw this movie on DVD and was fascinated by the screenplay and how the film was visualised. I could see the pain and horror the Palestinian family had to go through. Being occupied does eventually make you go insane and takes away from you any freedom you have and your left with nothing and you rather be dead than under occupation as the woman says in it. It was a moving piece only that it could have elaborated a bit more on the story. It would have been interesting to see what the Israeli army's story was in the film and exactly why the occupied the house. I recommend everyone to see this extraordinary movie. It's a film that really shows the political and personal effects upon individuals.

Any films that explore fact-based story lines pertaining to the ever-tense Israeli-Palestinian conflict and manage to convey both the weaknesses and the dignities of both Palestinians and Israelis without partisanship, ought not to be interesting and uplifting. "Private", the story of a privileged Palestinian family of 7 (3 boys, 2 girls and their parents) whose house is suddenly invaded and occupied by Israeli soldiers, ought to be both interesting and uplifting. I found it eminently interesting (even exciting), but, sadly not too uplifting. I felt that the screenwriter strove perhaps a bit too hard to avoid blaming either side. To be sure, the performances of those playing the parts of the Palestinian family were beyond reproach and the same can be said of the Israeli actor leading the soldiers. No mean feat when you consider that these parts were played by Jewish and Arabic actors. I was especially impressed with the two youngest children - a boy and a girl both affected in wildly different ways by the course of events they are forced to endure. While "Private" does eventually strive to convey the utter senselessness of the Israeli-Palestinian war and the possibility of hope for a future where violence need not be resorted to, the sad reality of the true story upon which this film is based, impedes any likelihood that you will leave the cinema (or your favourite movie-watching seat in your house) feeling a sense of hope when the end credits start to roll. I saw this film at the Toronto International Film Festival. I chose to see it because from the basic plot outline I read, I was hoping for a reprise of the kind of film going experience I had watching the Shapiro/Goldberg/Bolado docu "Promises" during the 2001 Film Festival here, which in fact was vastly superior to "Private". I will conclude by mentioning that I have rated this film 7/10.

This film does not enlighten viewers to the conflict... it is generic anti-Isreali drivel. The house is an obvious metaphor for the region and the Israelis, of course, are played as the brutish unsympathetic occupiers pushing the poor Palestinians out of their home. The Palestinian family members, with their differing views, are obviously meant to represent the various Palestinian viewpoints. We get it. The metaphor is as subtle as a hammer blow to the head.

This is just more pro Palestinian revisionist history propaganda. Most pro Palestinians either just hate Israel or got their history from the internet. Thinking you are informed on an issue is a lot easier that taking the time and effort to really be informed, as in researching all sides.

It's funny in a sad way that most films that claim to show an even handed view of a conflict always seem to be biased in one way or another.